Library 


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Chicago 
University 
Department  of  English 

A  Prograa  Illustrating  the 

Chief  Types  of  Drama 

Before  Shakspere 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


Ijai^spere  Cercentennial 
Celctjration 


THE  DEPARTMENT  OF  ENGLISH 
LANGUAGE   AND    LITERATURE 

al 

THE   UNIVERSITY  OF  CHICAGO 

FRIDAY  EVENING,  FEBRUARY  25,  1916 

A   'Program  Illustrating  the  Chief  Types 
of  'Drama  before  Shal^spere 


CHICAGO.  ILLINOIS 


IN  THE  production  of  the  plays  on  the  program  this  evening  Associate 
Professor  C.  R.  Baskervill,  Chairman,  Professor  W.  D.  MacClintock, 
Professor  A.  H.  Tolman,  and  members  of  the  Faculty  on  the  other  com- 
mittees formed  the  general  committee. 

Professor  R.  M.  Lovett  has  had  charge  of  management  and  finance,  assisted 
by  Associate  Professor  J.  W.  Linn. 

Dr.  J.  Lewis  Browne,  organist  and  director  of  music  of  St.  Patrick's  Church, 
presents  the  Sponsus  with  a  select  chorus  of  his  choir. 

Associate  Professor  P.  H.  Boynton  has  directed  the  production  of  The  Second 
Shepherds'  Play. 

Associate  Professor  D.  A.  Robertson,  with  the  assistance  of  Mr.  Frank 
Hurburt  O'Hara,  has  directed  the  production  of  Nice  Wanton,  and  has  arranged 
the  stage  setting. 

Mr.  Hamilton  Coleman  has  been  in  charge  of  the  rehearsals  of  The  Second 
Shepherds'  Play  and  Nice  Wanton,  and  has  kindly  acted  as  stage  manager. 

Miss  Mary  Wood  Hinman  has  revived  the  dances  for  the  Jig,  and  presents 
the  play  with  a  group  of  her  students. 

Miss  Elizabeth  Root  has  arranged  the  music  of  the  Jig. 

Mrs.  Lyman  A.  Walton  has  had  charge  of  the  costuming  for  the  last  three 
plays,  assisted  by  Mrs.  C.  R.  Baskervill,  Mrs.  P.  H.  Boynton,  Miss  Charlotte 
Foss,  Mrs.  R.  L.  Lyman,  and  Mrs.  D.  A.  Robertson. 

Mrs.  R.  M.  Lovett,  assisted  by  Miss  Antoinette  Hollister  and  Mr.  Maurice 
Block,  has  had  charge  of  the  properties. 

Mrs.  H.  G.  Gale  has  assisted  in  the  music  of  the  program. 

In  the  selection  of  material,  colors,  and  designs  for  the  costumes,  the  effort 
has  been  to  make  the  costumes,  as  far  as  possible,  historically  correct  for  the  era, 
the  rank  of  the  character,  and  the  occasion.  Old  cuts  and  paintings,  and  de- 
scriptions taken  from  literature  contemporary  with  the  different  plays  have 
been  used. 

If  the  limitations  of  stage  production  in  Leon  Mandel  Assembly  Hall  did 
not  make  it  impossible,  realistic  backgrounds  for  each  of  the  four  plays  might  have 
been  used;  a  cathedral  choir  for  Sponsus;  a  cathedral  nave,  a  churchyard,  or  a 
town  square  for  the  second  play ;  a  pubUc  square  or  a  school  hall  for  Nice  Wanton; 
and  an  Elizabethan  stage  for  the  Jig.  Such  a  variety  of  scenic  investiture  being  out 
of  the  question,  a  frankly  conventional  stage  setting  has  been  devised  for  the 
plays.  By  the  use  of  properties,  and  especially  by  the  use  of  hghts,  the  stage 
setting,  it  is  hoped,  will  afford  an  artistic  frame  for  the  actors  in  their  varied,  and 
as  nearly  as  possible  accurate,  stage  costumes. 

A  departure  from  tradition  has  been  made  in  Nice  Wanton  in  not  assigning 
the  women's  parts  to  male  actors.  In  view  of  the  inevitable  suggestion  of  comedy 
to  a  modern  audience  in  this  practice,  it  has  been  thought  better  to  conform  to 
the  spirit  of  the  play  rather  than  to  the  letter  of  tradition. 


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SPONSUS 

[Circa  1 125] 

Of  the  four  short  dramatic  pieces  produced  tonight,  representing  the  main 
eras  and  the  important  types  in  the  preparation  for  Shakspere,  the  chief  emphasis 
of  the  program  is  laid  upon  the  Spoiisus  iiccause  of  its  unique  character.  The 
authoritative  text  of  the  Sponsus  is  that  of  Cloetta,  published  in  Romania,  XXII, 
a  loose  paraphrase  of  which  is  printed  below.  In  this  ])araphrasc  an  attempt 
has  been  made,  by  varying  meters,  to  reproduce  in  some  measure  the  effect  of 
the  variation  in  the  language  of  the  original.  Cloetta's  te.xt  is  not  accompanied 
by  music,  however,  so  that  the  version  to  be  sung  tonight  is  that  printed  by 
Coussemaker.  Both  the  music  and  the  words  of  Cousscmaker's  text  are  included 
in  tlie  program  on  account  of  the  rare  quality  of  this  specimen  of  Gregorian 
music,  which  is  so  adequate  a  vehicle  for  the  i)oignant  and  dignified  literary  treat- 
ment of  the  Sponsus.    Ur.  Browne  has  written  a  note  on  the  music. 

The  Sponsus,  though  ascribed  by  Coussemaker  and  other  early  editors  to 
the  eleventh  century,  seems  rather  to  belong  to  the  great  intellectual  renascence 
of  the  first  half  of  the  twelfth  century.  It  has  been  chosen  for  this  occasion 
because  it  has  been  regarded  by  Gaston  Paris  and  other  authorities  as  the  gem  of 
the  liturgical  drama  of  the  'Middle  Ages.  It  is  not  dramatic  in  the  modern  sense 
of  the  word,  however,  but  depends  for  its  effect  upon  the  situation  and  the  lyrical 
tone. 


THE  BRIDEGROOM 

OK 

THE  WISE  AND  FOOLISH  VIRGINS 
Full  Choir: 

The  Bridegroom  comes,  the  Christ;  O  virgins,  heed! 

The  hour  is  nigh,  the  Bridegroom  is  at  hand, 

And  hope  beats  in  the  heart  of  all  the  world. 

Your  chains  shall  fall,  O  people,  ye  who  once 

By  Eve  were  subject  made  to  Death  and  Hell. 

The  Second  Adam  will  remove  the  curse 

Which  the  First  Adam  on  his  children  laid. 

With  the  last  sigh  Christ  on  the  cross  exhaled, 

Satan,  defeated,  gave  his  conquest  up. 

The  way  to  Paradise  lies  open  now. 

Behold  the  Christ,  the  victim  innocent. 

Who  by  his  death  has  washed  your  sins  away. 

The  Bridegroom  comes,  the  Christ;  0  virgins,  heed! 


Gabriel: 


Listen,  ye  maids;  give  ear  to  what  I  say; 
Keep  in  your  hearts  the  words  I  speak  today: 
A  Bridegroom  ye  await,  your  Savior  aye; 

Let  him  not  find  you  sleeping! 
The  Bridegroom  comes,  for  whom  ye  watch  are  keeping. 


1C66678 


He  came  to  earth  and  for-your  sins  he  died; 
In  Bethlehem  born  of  Virgin  sanctified, 
In  Jordan  stream,  though  sinless,  purified, 

Let  him  not  find  you  sleeping! 
The  Bridegroom  comes,  for  whom  ye  watch  are  keeping. 

Beaten  he  was,  and  mocked,  and  spit  upon. 
Nailed  to  the  cross  with  great  derision, 
And  laid  in  tomb  for  Death  to  feed  upon. 

Let  him  not  find  you  sleeping! 
The  Bridegroom  comes,  for  whom  ye  watch  are  keeping. 

He  rose  again,  as  prophets  old  foreknew; 
I  Gabriel  am,  who  bring  the  word  to  you; 
Await  the  Lord;  he  soon  will  come  to  you. 

Let  him  not  find  you  sleeping ! 
The  Bridegroom  comes,  for  whom  ye  watch  are  keeping 
A  pause. 

[The  Foolish  Virgins  sleep  and  spill  their  oil.] 

The  Foolish  Virgins: 

We  maidens  who  come  humbly  here 
Our  oil  have  lost  through  lack  of  care; 
Of  your  great  plenty,  sisters  dear, 
Give  us,  we  pray,  a  little  share. 

Sad,  sad  are  we;  alas,  too  long  we  slept! 

Companions  are  we,  sisters  dear; 
Long  have  we  trod  the  self-same  way. 
Though  we  have  met  misfortune  here. 
Yet  can  ye  help,  without  denay. 

Sad,  sad  are  we;  alas,  too  long  we  slept! 

Give  us  some  oU  from  your  full  store; 
Deny  us  not,  unfortunate; 
Send  us  not  empty  from  your  door; 
Send  us  not  hopeless  from  your  gate. 

Sad,  sad  are  we;  alas,  too  long  we  slept! 

The  Wise  Virgins: 

Cease,  sisters,  cease  your  urgent  praj^ers  to  us. 
We  cannot  grant  you  what  you  ask  of  us. 
The  oil  we  have  is  scarce  enough  for  us. 

Sad,  sad  are  ye;  alas,  too  long  ye  slept! 

But  go  ye  now,  and  go  ye  hastily; 
Seek  ye  the  oil-sellers  and  seek  them  presently; 
Oil  will  they  sell  you  that  your  lamps  may  burn, 
To  greet  the  Bridegroom  at  his  glad  return. 

Sad,  sad  are  ye;  alas,  too  long  ye  slept! 


The  Foolish  Virgins: 

Alas,  we  hopeless  ones,  what  shall  we  do  ? 
Our  oil  is  lost,  our  lamps  are  darkened  too. 
No  hope  have  we  the  Bridegroom "s  face  to  see; 
Banished  from  light  and  joy,  banished  are  we. 
Sad,  sad  are  we;  alas,  loo  long  we  slept! 

[To  the  Oil  Merchants] 

O  merchants,  merchants,  here  wc  come  in  haste; 
Through  negligence  our  oil  has  gone  to  waste. 
Sell  us  some  oil  that  we  our  lamps  maj-  light. 
To  greet  the  Bridegroom  when  he  comes  tonight. 
Sad,  sad  are  we;  alas,  too  long  we  slept! 

The  IMkrciiants: 

Damsels,  away!     No  help  ye  find  in  us; 
Our  oil  we  sold  long  ere  you  came  to  us. 
No  oil  have  we,  though  ye  much  gold  would  jiay, 
To  greet  the  Bridegroom  when  he  comes  today. 
Sad,  sad  are  ye;  alas,  too  long  ye  slept! 

To  your  dear  sisters  take  your  sorrowing  way; 
Tell  them  your  need,  and  their  assistance  pray. 
They,  only  they,  can  give  you  help  today. 
They  only,  fill  your  lamps,  your  fears  allay. 

Sad,  sad  are  ye;  alas,  too  long  ye  slept! 

The  Foolish  Virgins: 

Ah,  hopeless  ones,  to  whom  now  shall  we  go  ? 
No  one,  we  find,  will  help  us  in  our  woe! 
Fated  to  perish  for  our  little  sin, 
The  Bridegroom's  doors  we  ne'er  shall  enter  in. 
Sad,  sad  are  we;  alas,  too  long  we  slept! 

[The  bridal  procession  comes  and  is  joined  by  the  Wise  Virgins.     The  Foolish 
Virgins  appeal  to  the  Bridegroom.] 
Hearken,  O  Bridegroom,  to  us  importunate! 
Open  the  door  to  us,  maidens  unfortunate; 
Let  us  come  in  with  our  sisters  more  fortunate! 

The  Bridegroom: 

Amen,  dico,  vos  ignosco,  nam  carclis  luminc; 
Quod  qui  perdunt  procul  pergunt  hujus  aulac  limine. 
Hence,  careless  ones,  who  could  not  watch  one  hour: 
Forever  banished  from  the  Bridc.^roonr.'s  bower. 
To  hell  ye  go,  into  the  devil's  power! 

[Then  the  devils  seize  them  and  cast  them  into  hell.] 


SPONSUS 


Prudentes 
J.  W.  Barney 
J.  Belisle 

N.  Gerber 
E.  McNulty 
E.  Phillipi 

Gabriel 
Herbert  B.  Gould 


Singers 
J.  Lewis  Browne,  Director 
Fatiiae 
J.  Flannery 
R.  Gerber 
W.  Murray 


Snowhook 
Winters 


Chorus 


H.  Brown 
W.  Hafner 
C.  Krebs 
J.  Murray 


Mcrcatores 

J.  Daly 

Brother  Gregory 
G.J.  Kent 
W.  M.  Kent 

Christus 
Earl  Le  Febvre 


T.  Nolan 
A.  Quinn 
A.  Schneider 
S.  Szwarski 


NOTE  ON  THE  MUSIC 

In  transcribing  the  neumes  of  the  "Sponsus"  into  modern  notation,  the 
Editor  has  adhered  rather  to  the  Solesmes  method  than  to  that  of  the  Ratisbon. 
Those  familiar  with  Gregorian  will,  of  course,  find  no  difficulty  in  giving  to  the 
melodies  their  proper  expression.  To  the  inexperienced  it  may  be  helpful  to 
mention  that  Chant  does  not  possess  time-values  as  in  Modern  music.  (For 
instance,  J^  is  not  necessarily  the  equivalent  of  J.)     The  melodies  are  whoUy 

governed  as  regards  time  and  rhythm  by  the  accents  and  quantity  of  the  text. 
Still,  the  way  is  tolerably  clear.  If  the  lines  be  first  declaimed,  measuredly,  and 
with  correct  accent,  without  the  chant,  then  will  the  rhythm  of  the  melodies 
become  apparent.  These  melodies  should  be  transposed  to  accord  with  the 
best  eSect  to  be  obtained  from  the  singers  at  command,  and  to  the  end  that  suit- 
able contrasts  may  ensue.  As  to  accompaniment,  while  Chant  must  never  be 
sung  otherwise  than  in  unison,  the  organ  might  be  used  to  supply  strictly  diatonic 
harmonies  constructed  according  to  the  laws  of  Modal  counterpoint.  The  action 
and  mise  en  scene  of  this  liturgical  play  of  the  eleventh  century  is  well  set  out  in 
"L'Epoux"  to  be  found  in  "Le  Drame  Chretien  au  Moyen  Age"  by  JMarius 
Sepet.  (Paris:  Didier  et  Cie.,  1878.)  Sepet's  stage  directions,  while  given  for 
his  own  (Sepet's)  paraphrase,  and  which  are  therefore  more  fanciful  than  of  tradi- 
tion, would  be  appropriate  in  presenting  the  drama  under  notice,  although  the 
introduction  to  E.  de  Coussemaker's  ''Drames  Liturgiques  du  Aloyen  Age" 
(Paris:  Didron,  1851),  from  which  the  present  edition  of  the  "Sponsus"  has  been 
taken,  must  always  be  the  guide  to  these  remarkable  old  musical  plays.  The 
text  of  the  "Sponsus"  is  a  mixture  of  Ecclesiastical  Latin  and  French  and  its 
orthography  differs  from  that  of  present  day  use.  But  it  has  been  deemed 
advisable  to  follow  the  original  in  all  particulars. 

J.  L.  B. 
Chicago,  January,  19 16 


*  Les  Vierg'es  Sag-es  Et  Les  Vierg'es  Folles 


Liturg'ical  play 

of  the  Twelfth   Century 


Done  into  modern  notation 
and  edited  by  J.  LEWIS  BROWNE 


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li.M.Co.  58-13-9 


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Mercatores: 


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ter, 


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tes         o         tost, 
G.M.C'o.  58-13-12 


que        ja        ven   -    ra         les    - 


pos. 


(Fiituae:) 


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Audi,  sponse,  voces  plangeiitium 
Aperire  fac  nobis  ostium 
Cum  sociis;  praebe  remedium. 
(Modo  veniat  sponsus.) 

Cliristiis : 

Amen  dico, 
Vos  ignosco; 
Nam  caretis  lumine; 
Quod  qui  pergunt, 

Procul  pergunt 

Hujus  aula  limine. 

Alet  chaitivas!  alet  malaureas! 

A  tot  jors  mais  vos  so  penas  livreas  : 

En  enfern  ora  seret  meneias. 


G.M. Co.  58-13-13 


(Modo  accipiant  eas  dmno-iies  et pTecipitentur 
in  ivff:rnu7n,.) 


THE  SECOND  SHEPHERDS'  PLAY 

[Circa  1450] 

"  The  Second  Shepherds'  Play  "  of  the  Towneley  or  Wakefield  cycle  of  mystery 
plays  was  probably  wTitten  about  1450.  It  is  a  masterpiece  in  the  second  great 
dramatic  movement  of  the  Middle  Ages,  the  nationalization  and  expansion  of  the 
liturgical  play.  Latin  now  gave  place  to  the  native  language,  the  plays  passed 
into  the  hands  of  laymen,  and  cycles  of  plays  covering  much  of  the  Bible  story 
were  developed  for  presentation  by  trade-guilds  at  the  summer  festivals. 

In  this  play  there  is  a  striking  and  characteristic  use  of  comic  material 
introduced  as  a  concession  to  the  popular  taste.  Mak,  the  sheep-stealer,  visiting 
the  shepherds  in  the  fields,  is  forced  to  sleep  between  them  for  the  safety  of  the 
sheep.  But  Mak  slips  away  while  the  others  sleep,  steals  a  sheep,  delivers  it  to 
his  wife,  and  returns  to  the  shepherds  in  time  to  be  found  in  his  place  the  next 
morning.  The  suspicious  shepherds  visit  and  search  Mak's  house,  but  he  and 
his  wife,  having  swaddled  the  sheep  and  covered  it  over  in  the  cradle,  pass  it  off 
for  a  newborn  child.  When  one  of  the  shepherds,  remorseful  over  his  unjust 
suspicions  of  Mak,  returns  to  leave  a  piece  of  money  as  an  offering  to  the  infant, 
the  trick  is  discovered  and  Mak  is  tossed  in  a  blanket. 

Startling  as  this  episode  is,  there  is  a  nice  correspondence  between  the  bal- 
ancing parts  of  the  two  cradle  scenes.  In  the  dramatic  completeness  of  the  comic 
plot,  and  in  the  characteristic  mediaeval  contrast  between  the  rugged  satire  and 
rough  humor  of  the  comic  scenes,  and  the  lofty  spirit  of  the  annunciation  of 
Christ's  birth  by  the  angels  and  the  adoration  of  the  shepherds,  the  structure  of 
the  play  is  finely  perfected. 

No  attempt  was  made  in  the  old  days  to  achieve  either  local  or  stage  illusion. 
The  shepherds,  suffering  from  EngUsh  climatic  and  economic  conditions,  were 
in  EngUsh  costumes.  The  interpretation  of  the  manger  scene  has  been  borrowed 
from  ecclesiastical  painting. 

The  appropriate  songs  were  found  in  Chappell's  Old  EngUsh  Popular 
Music. 


THE  SECOND  SHEPHERDS'  PLAY 

Dramatis  Personae 

Primus  Pastor Dunlap  Cameron  Clark 

Secundus  Pastor Frank  Richardson  Wood 

Tertius  Pastor Emmer  Da\is  Edwards 

^iAK James  Douglas  Dyrenforth 

Uxor  Eius John  WeUs  Banister 

Angelus Clarence  Alexander  Brodie 

Maria Phoebe  Bell  Terrv 


NICE  WANTON 

[Circa  1550]      • 

Nice  Wanton  was  printed  in  1560,  but  there  are  indications  within  the  play 
that  it  was  written  during  the  reign  of  King  Edward  VI.  The  period  chosen  for 
this  production  is  the  early  part  of  his  reign  when  costumes  were  still  much  like 
those  made  familiar  in  the  drawings  and  paintings  of  Hans  Holbein.  The  little 
tragedy  may  have  been  produced  in  a  public  square  or  in  a  school  hall.  Indeed, 
Nice  Wanton  is  a  type  of  school  play  with  touches  of  the  morality  in  the  char- 
acters of  Worldly  Shame  and  Iniquity,  the  Vice. 

The  play  tells  the  story  of  Xantippe's  children;  the  studious  Barnabas  and 
the  reckless  Ishmaeland  the  foohsh,  spoiled  Delila.  Barnabas,  eager  for  learning 
and  conscious  of  its  power,  warns  his  brother  and  sister  against  truancy.  A 
neighbor,  Eulalia,  advises  Xantippe  of  the  increasingly  evil  ways  of  her  wayward 
children.  They  fall  under  the  spell  of  Iniquity  and  soon  advance,  each  in  his 
own  way,  on  the  road  to  destruction. 

The  second  part  displays  the  tragic  outcome.  Delila,  miserable  in  poverty 
and  disease,  is  rescued  by  the  prosperous  and  kindly  Barnabas  who  recognizes 
his  sister  in  spite  of  rags  and  disfigurement.  Before  Daniel,  the  judge,  a  desperate 
burglar  and  murderer — none  other  than  Ishmael — is  tried  and  condemned  to  the 
gallows.  Worldly  Shame  then  seizes  Xantippe  and  enforces  the  lesson  of  her 
responsibility  for  the  hanging  of  Ishmael  and  the  pitiful  death  of  Delila.  Her 
attempt  to  stab  herself  is  frustrated  by  Barnabas,  who  closes  the  play  with  a 
warning  to  all  parents  and  children. 


NICE  WANTON 

Dramatis  Personae 

Prologue,  A  Messenger Howard  Mumford  Jones 

Barnabas Samuel  Greene  Arnold  Rogers 

Delila Eleanor  Dougherty 

Ishmael James  Currey  Hemphill    • 

EuLALU. Clara  Josephine  Kretzinger 

Xantippe Louise  Mick 

Iniquity Sol  Harrison 

Daniel,  the  Judge Howard  Mumford  Jones 

Baillie  Errand Fred  Eugene  Rankin 

Worldly  Shame Charles  Breasted 


"THE  WOOING  OF  NAN" 

AN  ELIZABETHAN  JIG 
[Circa  1590] 

''The  Wooing  of  Nan"  occurs,  wilhout  title,  in  a  manuscript  across  which 
the  name  of  INIarlowe  is  written.  It  is  usually  printed  with  Marlowe's  works 
under  the  title  "A  Dialogue  in  Verse,"  but  its  authorship  is  uncertain.  The  piece 
probably  belongs  to  the  period  1 590-1600. 

A  jig  was  the  favorite  Elizabethan  afterpiece,  and  was  expected  by  popular 
audiences  even  after  the  greatest  tragedies  of  Shakspere's  day.  It  was  sung, 
danced,  and  acted  dramatically  at  the  same  time.  The  jig  is  an  interesting 
dramatic  form  from  two  points  of  view.  First,  by  the  sixteenth  century  the 
tv-pes  of  religious  drama  represented  in  the  preceding  part  of  the  program  began 
to  give  way  to  secular  themes  found  in  the  song  dramas  of  the  people  and  in  the 
short  farces,  or  comic  interludes,  of  the  regular  stage.  The  jig,  which  became 
popular  late  in  the  century,  absorbed  the  wooing  scenes  of  the  folk  drama  and 
the  intrigue  plots  of  farce,  and  seems  to  have  influenced  definitely  the  comic 
scenes  of  Shakspere  and  his  fellow-dramatists.  In  the  second  place,  until 
recently  it  has  been  declared  that  no  specimen  of  the  jig  was  extant.  Professor 
Baskervill  has  evidence,  however,  that  a  number  of  such  dialogues  as  "The 
Wooing  of  Nan"  were  jigs,  and  this  evening  for  the  first  time  in  perhaps  two 
hundred  years  an  attempt  is  made  to  reproduce  an  Elizabethan  jig. 

In  this  reconstruction  of  the  lost  art  of  the  jig  the  dances  have  been  arranged 
in  accordance  with  Elizabethan  descriptions  of  jigs  and  popular  dances.  One 
traditional  form  of  the  morris  jig  is  included.  The  dialogue  is  sung  to  appropriate 
Elizabethan  jig  music  that  has  survived,  and  one  of  the  tunes  is  a  form  of  the 
air  to  "Roland,"  perhaps  the  first  famous  Elizabethan  jig. 


THE  WOOING  OF  NAN 

Dramatis  Personae 

Jack Ralph  Salisbury 

Friend Lander  MacCUntock 

Dick Rex  W.  Reeve 

Pierce Kimbal  Root 

Gentleman Paul  MacClintock 

Fool Karl  E.  Anthony 

Nan James  C.  Crandall 

Fiddler J.  Beach  Cragun 

Piper Jules  Avner 

Drummer R.  B.  Whitehead 


THE  WOOING  OF  NAN 

[Adapted] 


Jack:  Seest  thou  not  yon  farmer's  son  ? 

He  hath  stolen  my  love  from  me,  alas! 
What  shall  I  do  ?    I  am  undone; 
My  heart  will  ne'er  be  as  it  was. 

Oh,  but  he  gives  her  gay  gold  rings, 
And  tufted  gloves  for  holiday. 

And  many  other  goodly  things, 
That  hath  stolen  my  love  away. 

Friend:  Let  him  give  her  gay  gold  rings 

Or  tufted  gloves,  were  they  ne'er  so  gay; 
Or  were  her  lovers  lords  or  kings, 

They  should  not  carr>'  the  maid  away. 

Jack:  But  a'  dances  wonders  well. 

And  with  his  dances  stole  her  love  from  me: 
Yet  she  wont  to  say  I  bore  the  bell 
For  dancing  and  for  courtesy. 

Dick:  Fie,  lusty  younker,  what  do  you  here. 

Not  dancing  on  the  green  today  ? 
For  Pierce,  the  farmer's  son,  I  fear. 
Is  like  to  carry  your  love  away. 

Jack:  Good  Dick,  bid  them  all  come  hither 

And  tell  Pierce  from  me  beside. 
That  if  he  think  to  have  the  maid, 

Here  he  stands  shall  bear  away  the  bride. 

Dick:  Fie,  Nan,  why  use  your  old  lover  so, 

For  any  other  new-come  guest? 
Thou  long  time  his  love  did  know; 

Why  shouldst  thou  not  use  him  best  ? 

Nan:  Bonny  Dick,  I  will  not  forsake 

My  bonny  Rowland  for  any  gold : 
If  he  can  dance  as  well  as  Pierce, 
He  shall  have  my  heart  in  hold. 

Pierce:  Why,  then,  my  hearts,  let's  to  this  gear; 

And  by  dancing  I  may  won 
My  Nan,  whose  love  I  hold  so  dear 
As  any  realm  imder  the  sun. 
[Jack  and  Pierce  compete  in  dancing.] 


Gentleman: 


Dick: 


Gentleman: 


Nan: 


Dick: 


Fool: 


Nan: 


Gentleman: 
Xan: 

Gentleman: 


Then,  gontlcs,  cro  I  speed  from  hence. 

1  will  be  so  bold  to  dance 
A  turn  or  two  without  offense; 

For,  as  I  saw  walking  along  by  chance. 
1  was  told  that  you  did  agree 
Who  dances  best  wins  this  lady, 

'Tis  true,  good  sir;  and  this  is  she 

Hopes  your  worship  comes  not  to  crave  her; 

For  she  hath  lovers  two  or  three, 

And  he  that  dances  best  must  have  her. 

How  say  you,  sweet,  will  you  dance  with  me  ? 

And  you  shall  have  both  land  and  hill; 
My  love  shall  want  nor  gold  nor  fee. 

I  thank  you,  sir,  for  your  good  will. 
But  one  of  these  my  love  must  be; 

I'm  but  a  homely  country  maid. 
And  far  unfit  for  your  degree; 

To  dance  with  you  I  am  afraid. 

Take  her.  good  sir,  by  the  hand, 

As  she  is  fairest;  were  she  fairer. 
By  this  dance  you  shall  understand. 

He  that  can  win  her  is  like  to  wear  her. 

[Gentleman  and  Nan  dance  together.] 

And  saw  you  not  my  Nan  today. 

My  mother's  maid  have  you  not  seen  ? 
My  pretty  Nan  is  gone  away 

To  seek  her  love  upon  the  green. 
I  cannot  see  her  'mong  so  many; 
She  shall  have  me,  if  she  have  any. 

W  elcome,  sweetheart,  and  welcome  here, 

Welcome,  my  true  love,  now  to  me. 
This  is  my  love  and  my  darling  dear, 

And  that  my  husband  soon  must  be. 
And,  boy,  when  thou  com'st  home,  thou'lt  see 
Thou  art  as  welcome  home  as  he. 

[Nan  and  the  Fool  dance  together.] 

How  now,  sweet  Nan!     I  hope  you  jest. 

No,  by  my  troth,  I  love  the  fool  best; 

And  if  you  be  jealous,  God  give  you  goodnight! 

I  fear  me  to  trust  one  who  capers  so  light. 

I  wish  all  my  friends  by  me  to  take  heed. 

That  a  fool  come  not  near  you  when  you  mean  to  speed. 

[Dance.] 


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